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Lucas Cranach (1472-1553) was a Franconian master, who settled in Saxony and was successively court-painter to three Electors and the leader of a small local school there. He, perhaps, studied under Gruenewald, but was so positive a character that he showed no strong school influence. His work was fantastic, odd in conception and execution, sometimes ludicrous, and always archaic-looking. His type was rather strained in proportions, not always well drawn, but graceful even when not truthful. This type was carried into all his works, and finally became a mannerism with him. In subject he was religious, mythological, romantic, pastoral, with a preference for the nude figure. In coloring he was at first golden, then brown, and finally cold and sombre. The lack of aerial perspective and shadow masses gave his work a queer look, and he was never much of a brushman. His pictures were typical of the time and country, and for that and for their strong individuality they are ranked among the most interesting paintings of the German school. Perhaps his most satisfactory works are his portraits. Lucas Cranach the Younger (1515-1586) was the best of the elder Cranach's pupils. Many of his pictures are attributed to his father. He followed the elder closely, but was a weaker man, with a smoother brush and a more rosy color. Though there were many pupils the school did not go beyond the Cranach family. It began with the father and died with the son.

A volume might be filled with stories of the strange and exciting incidents that grew out of this pretended popish plot. Its consequences extended disastrously through many years, and involved a vast number of innocent persons in irretrievable ruin. The true character of Oates and his accomplices was, however, at length fully proved, and they themselves suffered the fate at last which they had brought upon others. The whole affair was a disgrace to the age. There is no circumstance connected with it which can be looked upon with any pleasure except King Charles's fidelity to his injured wife in refusing to abandon her, though he no longer loved her. His defense of her innocence, involving, as it did, a continuance of the matrimonial tie, which bound them together when all the world supposed that he wished it sundered, seems to have resulted from a conscientious sense of duty, and implies certain latent traits of generosity and nobleness in Charles's character, which, though ordinarily overpowered and nullified by the influences of folly and vice, still always seem to have maintained their hold, and to come out to view from time to time, in the course of the gay monarch's life, whenever any emergency occurred sufficient to call them into action.

Furthermore, it will be remembered that the British and French Governments violently protested when the plans were made public that the Dutch Government intended to fortify the mouth of the Scheldt in 1906. But in 1912, when the Balkan crisis became acute, the British went one step further. When Col. Bridges, in a conversation with Gen. Jungbluth, the Chief of the Belgian General Staff, said that England was ready to strike, that 160,000 men were ready to be landed and that they would land them as soon as any European conflict should break out, Gen. Jungbluth protested that for such a step the permission of Belgium was necessary. The cool reply was that the English knew it, but thought that, as Belgium was not strong enough alone to protect herself, England would land troops anyway. Gen. Jungbluth answered that Belgium felt strong enough to protect herself, which is in keeping with her declaration to France, when she offered to protect Belgium by five army corps, as reported in the British "White Book." The position of England was therefore that, while in 1906 they had already concerted plans for a joint action, in 1912 England intended action in any case, should a European conflagration break out.

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